One band I missed in my SXSW accordion recap was Shawn Sahm and the Tex Mex Experience. As you might have guessed, Shawn is the son of the late Doug Sahm, founder of the Sir Douglas Quintet and Texas Tornados.
The Tex Mex Experience is quickly making a name for themselves with their high-energy, accordion-fueled Texas rock, and have opened shows for Los Lonely Boys, Robert Cray, and Susan Tedeschi. And this review of their SXSW showcase suggests they’re ready to break out:
“The fusion of all-out rock, hot-licks accordion and guitar, spot-on vocals and catchy, hook-laden songs is irresistible. If the business types from the music industry are worried about marketing a rock band with an accordion, they need to get over it, strap on their dancing shoes and unleash the Tex-Mex Experience.”
Here’s a live clip of the Tex Mex Experience playing “Why Doncha?”; watch for the accordion solo (by former Texmaniac Michael Guerra) halfway through.
This week, the music industry is focused on Austin, TX, home of the annual South by Southwest (SXSW) music festival. With over a thousand acts performing at more than fifty venues over the course of five days, it’s a music lover’s dream.
Just like last year, we’ve sifted through this year’s schedule and found a few accordion-toting artists worth checking out:
Beirut
I can’t believe I haven’t written about Beirut here before! 20-year-old Zach Condon’s Balkan-inspired album Gulag Orkestar made him one of the indie rock darlings of 2006. After listening to him croon over enchanting accordion lines, it’s easy to see why. Beirut: Elephant Gun
KTU (Pohjonen, Gunn, Mastelotto)
Avant garde Finnish accordionist Kimmo Pohjonen’s mission is to “expand the capabilities, sound, performance, scope and experience of the accordion to levels never before seen or heard.” Joined by guitarist Trey Gunn and percussionist Pat Mastelotto, he’s well on his way. KTU (Pohjonen, Gunn, Mastelotto): Absinth
Pistolera
Based in New York City, Pistolera fuses traditional Mexican music with electric rock rhythms. The band features vocalist and guitarist Sandra Lilia Velásquez along with the driving accordion melodies of Maria Elena. Pistolera: Cazador
Asakusa Jinta
This “hardcore marching brass band” from Asakusa (Tokyo’s old downtown), Japan, plays modern, rollicking rockabilly, armed with accordion, saxophones, trombones, tuba, and stand-up bass. They sound like they’d be one hell of a live band; luckily, they’ll be in San Francisco next week! Asakusa Jinta: Tokyo East End Rockers
The Cassettes
Cajun accordion, theremin, dobro, and tabla all find their way into the music of this Washington DC “rock n’ roll vaudeville western band.” Like so many bands at SXSW, their sound isn’t easily summed up in a sentence; just listen to the MP3: The Cassettes: Lady Faire
Accordions certainly aren’t the only instruments blocking the exits at our house. In fact, the first instrument I bought Anna (shortly after we first met) wasn’t an accordion at all, but a musical saw. There’s something oddly beguiling about the saw; maybe it’s the otherworldly sound, the amazing flexiblity, or the fact that (in a pinch) you could use it to fix an uneven table. Regardless, it can sound fantastic when accompanied by an accordion.
For proof, check out Minneapolis-based duo Dreamland Faces, which consists of Karen Majewicz on accordion and Andy McCormick on musical saw. Together, they play an enchanting mix of original tangos and waltzes, as well as jazz and folk classics from yesteryear. Majewicz has studied with Tejano accordion legend Eva Ybarra and Russian virtuoso Stas Venglevski, and even worked on accordions at Hohner’s repair center in Virginia. (She currently offers lessons and repairs in Minneapolis.)
In addition to their self-titled CD, Dreamland Faces has provided original music for theatre shows and accompanied silent films. I haven’t found many clips of their work online, but here’s a quirky music video for one of their songs:
A few years ago, I inherited a fantastic collection of classic accordion sheet music. The arrangers’ names read like a “Who’s Who” of accordion masters: Deiro, Frosini, Magnante, Nunzio. However, most of the pieces were (and still are) far beyond my reach, so I was left wondering how “La Mariposita” and “Carnival of Venice” should really sound.
Now I know — thanks to Zevy Zions and his excellent new album of accordion solos, Olive Blossoms. Zions is a student of the great performer and teacher Charles Nunzio who, in turn, was a student of the legendary Pietro Frosini. Most of the songs on Olive Blossoms were either written or arranged by Frosini or Nunzio and it’s clear that Zions has gone to great lengths to do them justice.
From the start, Zions’ playing is impeccable, even on the most challenging material. But he’s no robot either; whether it’s the bouncy “Jolly Caballero” or the dreamy “Florette”, Zions handles the dynamics and nuances of each piece with care. The album’s centerpiece is his “Klezmer Suite” arrangement, which builds from a wandering, improvisational Doina to a rollicking Freilach.
Variety is key to any album of solos (regardless of instrument), and Zions does a fine job showing the accordion’s versatility across styles and genres. The album’s 18 tracks range from waltzes to tarantellas, polkas to tangos, with a unique accordion arrangement of a Mozart minuet for good measure.
There are no MIDI tricks here — just pure, beautifully executed renditions of accordion classics. Whether you’re new to these songs, or an experienced player seeking inspiration, Olive Blossoms would be an excellent addition to your accordion listening library.
Accordions are still all too rare in jazz, but Will Holshouser is doing his part to change that. A master accordionist, composer, and improviser, Holshouser’s unique sound crosses a wide range of genres, from chamber-jazz to folk to avant-garde and experimental.
It’s no surprise given his eclectic list of collaborators; in addition to his own band, the Will Holshouser Trio, he has played with David Krakauer & Klezmer Madness, Matt Munisteri & Brock Mumford, Musette Explosion, and numerous others. In a recent interview, Holshouser talked about the relationship between jazz and folk in his music, with emphasis on his involvement in klezmer:
“Playing klezmer has certainly changed the way I play the accordion. Among other things, I’ve learned to spit out runs of notes, to play peppery, dry, percussive chords, and to use ornamentation to tease out harmonic color. Many of these musical nuts and bolts are interesting and quirky, but what’s really fascinating is how they create such compelling effects — how they punch through our daily existence and help us to have these musical and emotional experiences that are so fulfilling.”
Most of Will’s original work is with the Will Holshouser Trio, which includes skilled improvisers Ron Horton on trumpet and David Phillips on bass. Their latest CD, Singing to a Bee, was recorded live in Faro, Portugal, during the Jazz No Inverno Festival in December 2004. To show you their versatility, here’s a track from that album that teeters between zydeco and jazz:
Canada’s answer to Jason Webley, Geoff Berner is another mad genius songwriter on the solo accordion circuit. Biting and hilarious, dark and depressing — often all at the same time — Berner’s been delving deeper into klezmer with each successive album. He’s also the author of the international bestseller, How to Be an Accordion Player.
With his latest album, The Wedding Dance of the Widow Bride, Berner continues his mission to “drag klezmer music into
the bars kicking and screaming.” His raunchy, edgy take on klezmer may be blasphemous to some, but Berner insists that he’s simply getting in touch with the music’s emotional roots:
“In many ways [klezmer] was the punk rock of its time and place. These were the knockaround, hard-drinking, traveling people that you didn’t want your daughters to meet. These were not the classically trained musicians, and they were not always technical masters. They had something else to offer — they had guts in their playing.”
The album brings together the past and present, combining punk attitude with traditional Jewish wedding music. Aside from one Leonard Cohen cover, the songs are all original and inspired by traditional wedding song forms; for instance, “Weep Bride Weep” updates the traditional “Song to Make the Bride Weep” and “Song to Reconcile” is a dance to bring the in-laws together. It’s definitely an album worth slipping to the DJ at the next wedding you attend.
Like a norteño version of the Rolling Stones, Los Tigres del Norte show no signs of slowing down. Even after forty years and selling over 30 million records, the Hernández brothers (and cousin Oscar Lara) still play to packed houses night after night. In the late 60s and early 70s they revolutionized norteño music with electric instruments, pop/rock beats, and corridos about life on the border. Even today, Los Tigres don’t just sing to their audience, they sing about them — telling stories of the joys and heartaches of Mexican immigrants struggling to make it in America.
Last weekend, Los Tigres received glowing write-ups from both the Washington Post and the New York Times. The Washington Post article frames their story in the context of today’s immigration debate — showing how, despite their fame, they manage to stay close to their fans and stand up for them in their music. As bassist Hernán Hernández says, “People don’t just go [to our concerts] to party, they go for a purpose.” Don’t miss the excellent slideshow accompanying the article.
Meanwhile, the New York Times review of their concert at Brooklyn’s Bedford Armory depicts the bouncy, electric atmosphere of a show that lasted until 3am. Sounds like lead singer and accordionist Jorge Hernández had no trouble keeping the crowd going:
“… Adding stabs of accordion chords, he kept working through his battery of gestures of respect or supplication or triumph: doffing his cowboy hat and holding it out with arm fully extended, then putting it back in place, raising his fingers to his lips or his heart, putting forth a fist and shaking it once to signify firmness. He moved entirely in slow motion as the beat pumped behind him, and he was mesmerizing.”
Los Tigres del Norte have a new album due out on March 27 called Detalles y Emociones. The track below is from their most recent album, Historias Que Contar, which won “Best Norteño Album” at last weekend’s Grammys.
Today, we wrap up our look at the “Best Polka Album” nominees with another Chicago polka legend, Eddie Blazonczyk’s Versatones. We profiled the Blazonczyks last month, discussing the challenges that Eddie Jr. has faced since taking the reigns from his father.
Despite those challenges, the Versatones have remained one polka’s top bands. Formed in 1963 by Eddie Sr., the six-piece Versatones helped modernize polka by incorporating rock, country/western, Cajun, and Tex-Mex influences. Now with “Junior” handling the vocals and playing concertina, the band continues to promote polka through a rigorous schedule of touring and recording.
Batteries Not Included is the 18th Grammy-nominated album for Eddie Blazonczyk’s Versatones; they won once, back in 1987, but shared that award with (guess who?) Jimmy Sturr. If you enjoy uptempo, Chicago-style polka, this album won’t disappoint. Even traditional waltzes like “Chlopak” and “In the Oak Grove” are played at a pretty fast clip. And goofy numbers like “The Wife You Save” and “My Misery” show off Blazonczyk’s sense of humor.
You can’t talk about polka and the Grammys without mentioning Jimmy Sturr. Since the Grammy for “Best Polka Album” was first awarded in 1986, Sturr has won an astounding 15 out of the 20 awards given. While this has engendered jealousy among a few in the polka community, Sturr had no apologies during our exclusive interview back in October:
“I know there are people who are always knocking me; for instance, I read in the paper the other day where someone said ‘Jimmy Sturr should step down.’ (laughs) I will when the New York Yankees do.”
There’s no argument, though, when it comes to his work as a polka promoter; few have tried harder to bring polka to a wider audience than Jimmy Sturr. He has recorded over 100 albums, plays over 150 dates a year (including non-polka venues like Farm-Aid and the Grand Ole Opry), and has a regular show on RFD-TV. In addition to his own excellent band, he has recruited an impressive list of guest artists to record with him. Names like Willie Nelson, Alison Krauss, the Oak Ridge Boys, Arlo Guthrie, and many more.
After a pair of rock-oriented polka albums (Rock ‘n’ Polka and Shake, Rattle, and Polka), Jimmy Sturr and His Orchestra get back to basics with Polka in Paradise. And, as usual, Sturr brings some guests along for the ride: the “Polish Prince”, Bobby Vinton, guests on the title track and The Jordanaires contribute vocal harmonies throughout.
In a big band like Sturr’s, the accordion can sometimes get lost in the shuffle. That’s not the case, though, on this Polka in Paradise track featuring dueling accordion solos by Steve Swiader and Al Piatkowski:
While Frankie Yankovic reigned as “America’s Polka King,” another polka monarch was flourishing north of the border. Walter Ostanek, “Canada’s Polka King,” grew up idolizing Yankovic and eventually became a close friend and frequent collaborator (for instance, Ostanek played accordion on Yankovic’s first Tonight Show appearance). A three-time Grammy winner with numerous recording, radio, and TV credits to his name, Ostanek is best known for playing Cleveland-style polka with a country/western twang.
Fred Ziwich may not be royalty, but he’s been the recipient of multiple honors from the National Cleveland-Style Polka Hall of Fame, including “Musician of the Year”, “Button Box Musician of the Year”, and “Recording of the Year.” A classically trained clarinetist, Ziwich honed his accordion style in the ethnic halls and polka clubs around Cleveland. On Sunday, he could become the first Cleveland-area polka musician to win a Grammy since Yankovic himself.
The songs on Good Friends Good Music are divided between Ostanek (playing with his band) and Ziwich (playing with his “International Sound Machine”). The late Gaylord Klancnik, Joey Miskulin, and Igor Podpecan & Zlati Zvoki from Slovenia also make appearances. No matter who’s playing, though, the emphasis is on Cleveland/Slovenian-style polka music and the accordion is always front and center. Which explains why not one, but two accordion tuners (Don Krance and Jerry Balash) are credited in the liner notes!
